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MANUFACTURED AT

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THE HENRY FRANCIS du PONTWINTERTUUR MUSEUM

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JOHN HEALD

MANUFACTURER OF THE "HEALD" CORNET

THE " Heald " Cornet is manufactured at Springfield,Mass., under five different patents, unlike factory-made

goods. My instrument is a special production. After thirty(30) years as a practical maker of all (brass) military band

instruments, the past 15 years of which being mostly devoted to

my cornet, known as the " Heald," I feel qualified to makesome statements of interest to band musicians, especially those

of the professional class, knowing as I do their constant desire

for the most perfect instrument. In the manufacture of mycornet I have at all times tried to work from a strictly scientific

basis in every detail. Every tube of my instrument is made onthe prototype systemthe meaning or principal of which is aset of steel mandrels, on which every part is closely drawn byheavy pressure. By way of explanation I would here remarkthat this system is not newhas been in use by most makersfor many years. The point of superiority that I claim is themost -perfect dimensions of my mandrels or prototype systemover those of other makers, whereby every instrument whencomplete is afacsimile of the original.

By my system I secure the most perfect acoustic propor-tions in my cornet. This, together with my perfectly equalizedwind course for valve and open tones respectively, avoiding all

sharp angles, etc., I am able to produce a more perfect cornetin tone, tune, and even scale, than any other maker I knowanything about at the present time, judging by their products.

I would ask people who are interested to compare my cornetcarefully with those of any other maker and note the quality of

tone, also the freedom and volume of tone on valve notes in

complicated fingering, viz. : from low F sharp upward, includ-ing C sharp and D, also G with 1st and 3rd valves in pitch andvolume with open G, note the interval from low C to low G,it will be found correct (cannot be truly said of other makes) ;also low C sharp (3 valves down) is full volume like opennote, and not too sharp for other notes in scale. This kind of

test can be carried all through the scale with better results than

on any other make of cornet.It may not be generally known that at certain points the

dimentions of air space or acoustic proportions of the cornet or

other band instrument, is the controlling factor for the location

of the notes or vibrations in the scale of same, whether a per-

fect or imperfect scale is obtained. So it will be seen that a

maker must have a very perfect system, and rigidly enforce

same in order to secure anything like uniform results, as all de-

pends on prototype or steel mandrels as a basis to start from.

I would say to this feature of my instrument I have alwaysgiven my personal attention, believing that no employee couldor would have the same interest in the matter as myself. In

large factories the situation is quite different, the business must

be "pushed" as they call it. No one man ever makes an in-strument complete, the different parts of each instrument pass

through the hands of several different employees, who aresimply mechanics, and whose principal interest is to secure their

weekly wages. When the instrument is assembled and readyfor testing (as they call it), a good performer is called upon to

try it and express his opinion of the playing qualities. This

performer may be a Lecv\ or his equal, if possible : vet he hashad no practical experience in the manufacture of the instru-

ment. He knows nothing of acoustics as applied to the in-strument, having had no experience in the graduation of the

tubing of instruments which (as before stated) is the controlling

factor of location of notes in the scale, quality of tone, etc.

Consequently this fine performer cannot inform the mechanic

how to correct any possible faults that may exist. Then Iwould ask how is the mechanical instrument maker able tomake a perfect instrument, correcting any faults that he himselfis not able to detect ; for, were he able to test the instrument, it

is evident that the professional would not be called upon. So

evidently it is a case of guess work to a large degree between

the two people. As a result of this kind of work the market isoverrun with inferior instruments, and are being sold on easy

terms of $5.00 per month, perhaps a few go into the hands of

good performersyWv gratis, together with a sufficient amountof cash to induce him to write flaming testimonials in their

favor.

To the above described methodwhich is too trueI amdecidedly opposed. It is on the same level with the ready-

made clothing, boot and shoe business. When you want thebest goods you go to the custom workman (so called) who

understands the trade in every branch, and get the best. Mymotto is, "the best is none too good," especially in a musical in-

strument.

I believe I am not overrating my ability when I say I amthe only practical maker in this country at presentat least thatI know ofwho can individually make the cornet completefrom the raw material, including all tools, steel forms or

mandrels for same, and then test the instrument as well by a

creditable performance on same. Without any feeling of egotism

I would be willing to make a trial of this ability with any so-called instrument maker, either proprietor or employee, as I

have never known but one other man in the business who couldcover this much ground, and he was Isaac Fiske of Worcester,Mass., and whose instruments were the best in their day. As

previously stated, I make a specialty of my cornet. Outside ofthis I make only a slide trombone and trumpet when ordered.To this work I give my personal attention in every detail. Iclaim the most perfect tone, tune, and workmanship, as my in-struments will prove when compared with others of whatevermake or model, and I challenge any other maker to producetheir equal at the present time. I sell them strictly for cash and

on their real merit alone. I make no presents nor offer an}^fraudulent testimonials, although I have hundreds of unsolicited

letters of praise. Up to date I have never published one, know-ing that the better class of performers are not influenced by

such testimony.

However, in this issue of catalogue I am showing thepictures and testimonials of gentlemen in Springfield, well

known throughout Western Massachusetts as being among the

best of their class, and who have purchased their instruments atmy regular prices, and are ready to verify the above statementsany time. I do this to show the profession (which is rather un-

usual) that first of all, my instruments are fully appreciated athome in my own city. I send my instruments C. O. D. on ap-proval for one week or more. Regarding discounts and

agencies, I do nothing with the so-called music dealer.

Agencies are given only to a limited number of responsible

people in each state who are good performers. In this way ofplacing the instrument on the market we feel sure of an intelli-gent representation of same.

JOHN HEALD.

The "Heald71

Trumpet in B Flat and A.I have given much time and attention to the production of

this instrument. It has the same perfect acoustic proportionsand equalized wind course for valve and open notes respectivelyas our cornet, is made at hoth high and low pitch in one, if sodesired, or at either pitch separately. Tuning slide is longenough to draw to A natural. Prices same as for cornet.

"Heald's" New Telescopic Slide.QUICK CHANGING FOR CORNET B TO A.

Patented February 28, 1899; used in place of regulartuning slide ; is detachable from instrument used only on" Heald " cornet. Most perfect device for purpose ever in-vented, as the wind course for both A and B are perfectlyequalized. As represented in above cut, it is at high fitch * wehave two ways of making it low pitchone with little longershank, the other with extra long inside slide where hand isshown. See list of prices for cornet attachments on Page 13.

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Remarks on Tuning the Cornet.

The question is often asked by all grades of cornet players :what is correct rule for drawing the valve slides of a B flat cor-net when the pitch is lowered to A natural ? I would say that witha properly constructed cornet, calling its normal or highest

pitch B flat, the valve slides should be made at such a length asto make the instrument in tune with itself; onlv when the valveslides are closed up and the main line or tuning slide is also

closed, or nearly so. Now when lowering pitch to A natural moreor less, draw all three valve slides \n proportion to their length,

as for instance, draw ist and 3rd to make the note G in unisonwith open G on 2nd line of staff; draw 2nd slide so the ist and2nd combined, will be unison with E, top space on staff. Theabove rule forms a basis by which a person with correct ear

can tune most anv cornet with itself.

Why is the ^HealcT Cornet the Best?Because the first consideration of any musical instrument

is a musical quality of tone. This we have, superior to allothers of the class.

Because the acoustic proportions of our instruments are

nearer perfect than any others, the result of which is the most

perfect intonation of scale throughout.

Because the metal is the best we can procure of Europeanmanufacturersmade especially for our work.

Because our workmanship has no equal, all done under

personal supervision of proprietor of many years experience.

Because our cornet will do all-round business, high and

lozu pitch, better than any other instrument of its kind now onthe market. Compare our instrument carefully with any other

make and verify above statements.

Care of the Cornet.Cleanliness first Consideration.

Pistons should be wiped often enough to keep them clean

all the while. Lubricate with water or saliva (no oil), caps

and slides always movable ; lubricate them with stiff grease

(tallow) ; keep corks and pads on valve caps in perfect order,

also good spring and cork on water key. With some people a

sediment will collect in the leading or main line tube, from the

mouthpiece round to the valves. A good cornet may be madebadly out of tune by this obstruction. To clean this removesetpiece and tuning slide ; attach a small piece of cotton cloth,

enough to fill the tube, to a small soft wire ; push wire through

and draw cloth after it ; this should be done every month whencornet is in constant use ; springs may be made noiseless byrubbing a little stiff grease on them (no oil.)

General Remarks.

I am pleased to say that I take great interest in repairingband instruments, as I have every facility required for this line

of work. Musicians at a distance take no risk in sending menice instruments for repairs, as I guarantee them careful at-

tention and a full equivalent for their money. Cannot very

well make estimate on cost of repairs without seeing instruments.My silver and gold plating is the very best tripple plate ; I haveno use for cheap plating. I am prepared to furnish importedFrench and German band instruments, selected by myself, in

which case I know the workmanship to be of a good quality.For this reason I am able to offer better goods to purchasersthan the so-called music dealer, who has no real knowledge inthis line. I sometimes take second-hand instruments in part

payment for new : depends on their condition somewhat. I

also rent band instruments to responsible people at $3.00 per

quarter (three months) payable in advance. As to responsi-

bility in a business way 1 would respectfully refer all peoplewho do not know me to the Third National Bank, Springfield,Mass.

Cornet Cases.

No. i. Handsome brown seal grained leather grip satchel,made on leather-covered iron frame ; finest of nickeltrimmings and lock ; has movable cornet rest block,which adapts it to any standard make of comet.

Net Price $7-5o.

No. 2. Cornet Satchel. Black, Russet, Orange or Winecolor, sole leather, very handsome ; all hand embossed

;

Fleece-flannel lined.

Net Price $4.00.

No. 3. Cornet Satchel. Black sole leather; nicely em-bossed ; all hand-sewed ; Fleece-flannel lined andnickel trimmings.

Net Price $3.00.

Case for Slide Trombone.

These cases have metal end protectors, and are suitable for

either high or low pitch instruments ; have extra pocket for low

pitch slide ; all hand-made, and of the best material.

Net Price $7-5o.

NET PRICE LIST OF "HEALD" CORNET AND TRUMPET.

PLAIN BRASS.

Plain finish, pearl finger caps and patent water key. ... $ 55. 00

PLAIN SILVER PLATE.

Satin finish, burnished points, pearl caps and patent

water key $ 65.00

Satin finish, as above, with gold-lined bell 69.00

Satin finish, as above, with gold-lined bell and trim-

mings gold 72.00

Fine hand engraving on bell (additional) 5.00

All burnished finish, silver (additional) 2.00

ALL GOLD PLATED.

Plain finish, burnished points $ 95.00

" engraved bell, burnished points 100.00

Cases extra, from $2.00 to $10.00.

High or low pitch Cornets or Trumpets

cost the same.

MOUTH PIECES AND OTHER PARTS-NET PRICE LIST.

Brass. Silver. Gold.

For Cornet and Trumpet (mouthpieces) $1.00 $1.25 $2.50Slide Trombone (mouthpieces) 1.25 1.75

Cornet Bell Mute 1.50 2.50

Music Rack for Cornet 50 1.00

Valve Cap, top or bottom 50 .75

Pearl Finger Caps, set of three 1.50 1.75

Setpieces for Cornet, B flat and A, each 50 .75Short Tuning Bits, each 35 .50

Valve Springs, of all sizes 25

NET PRICE OF CORNET ATTACHMENTS.

For changing B Cornet to C in brass $6 00 Hated $7-

Extra long Tuning Slide for low pitch, brass 2.50 " 3.00

New Telescopic Tuning Slide, quick chang-ing, for high pitch only, B to A brass 7.00 8.00

Same as above, having both high and low

pitch slides, in brass 9.00 10.00

Arthur Amsden, Director and Cornet Soloist, 2nd Reg-iment Band, Springfield, Mass., is a graduate from NewEngland Conservatory of Music, Boston, under J. B. Clause,1889, and for nine years after was band master of the Wiscon-sin 2nd Regiment Band. In 1899 he made a tour of UnitedStates, playing solos in all the principal cities with great success.

Springfield, Mass., Feb. 10, 1903.Mr. John Heald,

Deat Sir.After having used your cornet for a year in every con-ceivable way and pitch, I am frank in stating that it is the most satisfactorycornet I have ever used. My experience comprises ten years use with the" Boston 3-Star " cornet ; five years with the " Besson," and about five yearswith the " Conn," and various other makes, not to omit the " Cortois," andhaving adopted the use of your cornet is because I am convinced that it issuperior to all others. The tone, tune, valve action and general workman-ship, being the very acme of perfection. Your key-changing device is indeeda model of convenience for theater work. Wishing for the continued successyou deserve, I am, Yours truly,

ARTHUR AMSDEN.

Edward Wallace, a cornetist of many years experience,and connected with many of the best bands in Western Massa-chusetts.

Springfield, Mass., August 26, 1902.

Mr. John Heald,

Deal Sir.I have used the Heald cornet for sixteen years, thefirst one thireen years. Bought a new one three years ago. For ease ofblowing and splendid tune there are none better, and excel all in workman-ship. Have used the Heald cornet in both orchestra and brass band work.In leading and teaching bands I have always recommended the Heald cornetabove all other makes. Very truly,

EDWARD WALLACE.

Edward A. Jones, an all-around musician, able to dobusiness with several different instruments, viz. : Cellow,French Horn and Cornet. First cornetist of Orchestral Clubof Springfield, and for 10 years cornetist at the Court SquareTheatre.

Springfield, Mass., Dec. iith, 1902.Mr. John Heald,

Dear Sir. I have used one of your cornets for nearly nine years,and although I have tried several cornets of first-class makers in that time,I can say that I have no desire to make a change.

Yours very truly, E. A. JONES.

With Springfield Orchestral Club.

M. H. Sumner, cornet soloist and teacher. First cornetistof Philharmonic Orchestra of Springfield, Mass., and one ofthe most successful and progressive musicians in WesternMassachusetts.

Fenwick Hale, Fenwick, Conn., Aug. 13, 1902.Dear Mr. Heaed,

Yours of the 7th at hand. Iu reply would say I shall be pleasedto give you testimonial. Have been using your cornet for six months, andwish to compliment you on being able to produce such a fine instrument. Iwas a little slow in not realizing the fact that right in my own city was madethe acme of perfection in a cornet, for I do not think there is a better in-strument put together than a Heald for ease of blowing, tone and tune, ithas no equal. There is considerable satisfaction doing business when youhave a good instrument, and I am sure you have distanced them all. Wish-ing you the best of success, Very truly,

M. H. SUMNER.

Carl H. Dewey, Cornetist at " Gilmore Theatre,-

and2nd Regiment Band, Springfield, Mass. A very promisingyoung performer on his instrument.

Springfield, Mass., May 12, 1902.Mr. John Heai.d,

Dear Sir.The coruet you inade for me a few months ago is cer-tainly a fine instrument. Its tune, tone and ease of blowing, I am sure can-not be excelled. Yours truly.

CARL H. DEWEY.

"Cornetist New Gilmore Theatre" and 2nd Retrt. Baud.

Orvill Wilson, a musician of some years experience;

director of band and orchestra, also good performer on cornetor baritone. Several years spent in the English navy.

Chicopee, Mass., August 5th, 1902.Mr. John Heald,

Dear Sir.I have used the " Heald " cornet for about 12 years,and it gives me great pleasure to state that I cousider it the best cornet Ihave ever played ou. I have noticed that a number of our leading cornetplayers are giving up their " Bessons," Boston Musicals, etc., and are nowusing a " Heald," which proves that they also consider it the best. lamusing your " Quick Change Slide," and like it very much. I never have tothink about my A set piece when I go on a "job." I can heartily recom-mend the " Heald " cornet. Sincerely yours,

ORVILLE K. WILSON.Director American Band.

Frank Wiemer, a young and progressive performer onhis favorite instrument, showing most excellent taste in all hiswork. Is first cornetist of " Short's " American Band, Spring-field, Mass.

Springfield, Mass., Nov. io.

I would like to say a word or two about the Heald cornet. I haveplayed one for most three years and like it better every day. I have playedother cornets, such as the Boston Musical, and I have tried the Conn, butcould not get any satisfaction out of them. The Heald cornet is perfect intune all around, and quality of tone it surpasses any other, and superb inmechanism. I can recommend it to any cornetist wishing a first-class in-strument. Yours truly,

FRANK WIEMER,38 Reed St., Springfield, Mass.

1st cornetist, Short's American Band.

Edward W. Burnett, President 2nd Regiment BandAssociation, and ist cornetistof the band, also a pupil of HenryBrown and J. B. Clause of Boston. A thorough student of thecornet for the past 20 years.

Springfield, Dec. 15, 1902.Mr. John Heaed,

I wish to say something about the new cornet you recently madefor me. I have had it about three weeks, and in that time have had chanceenough to test it. I think it the best cornet I ever used, and am candid insaying so, because, first, it is in tune, the high notes G and A especially(which on other cornets are usually very sharp) playing easily at the cor-rect pitch ; and secondly, the tone is so clear and smooth and brilliant thatthe playing of the instrument is more than satisfactoryit is a pleasure.With the low-pitch slide, too, the results are all that can be asked. As youknow I have played one of your cornets for several years, also several othermakes, I knew in getting one of your instruments I would get the best ; butI must say it is even better than I expected, and it seems to improve everyday. Long live the Heald cornet.

Yours truly,8 Grosvenor street. ED. W. BURNETT.

Prof. Albert Premo, Springfield's principal Trom-bonist, and teacher of acknowledged ability, ist trombone ofthe Orchestral Club, and for 10 years past member of CourtSquare Theatre Orchestra.

Springfield, Mass., Nov. 28, 1902.Mr. John Heald,

Dear Sir.The Slide Trombone which you made for me has beengiven a thorough trial in band and orchestra, and proves very satisfactory.It is powerful in tone, though not harsh, and the various notes in eachposition are in as perfect tune as any instrument can be made to produce.Musicians in this vicinity who have heard mine speak very highly of itsmellow tone, and I also wish to congratulate you on the beautiful cornet youmade me in scale, tune and tone. Thanking you for same, I remain,

Yours respectfully,ALBERT PREMO.

A Few of the People who have Paid the Price for the" Heald

' :

Cornet after Trial of same, and from

whom I have Letters of Praise.

T. D. Perkins, Soloist, .E. B. Marrier, Castle Square Theatre,Geo. Gates,Frank Chiaffarelli, 14th Street Theatre,F. W. Bosworth,W. C. Beebe,Albert Bode, 1st Cornetist, " Sousa's" Band,Otto Mesloh, " Sousa's " Baud, .E. Keneke, " Sousa's " Baud,C. M. Brooks, Leader Band,R. B. Hall, Soloist aud Composer,Chas. C. Johnson, Leader Band,E. C. Adams, Teacher,E. M. James,C. W. Hardy, Hardy's Orchestra,John Madden,J. T. Rainey, Leader Band,G. H. Richards,Fred Chipman,F. Naramore,B. M. Tanner,Fred Banan,E. Tracy, . . . . .L. R. Combs,

J. E. Smith, ....Amos D. Baker, Leader (ith Regt. Band,Jos. Renaud, Soloist, 6th Regt. Band,Wm. L. Day, Teacher of BaudMilo Burke, Soloist,C. E. Gould, " ...F. M. Stearns, Teacher,G. H. Southland, Organizer 2nd Regt. BamCake Lietsinger, ....C. N. Hackley,Sewael Morse,Chas. P. Hatch, Leader Hatch's BandR. A. Lawson, ....F. E. Lawson,W. E. Adair, ....W. D. Deebee, Soloist,B. T. Haeberg,Chas. H. Cramer,Joseph L. Edmiston,E. E. Burson,R. H. Merritt,M. J. Leonard,C O. Kimbaee,E. Waeeace,John A. Lambert,Leslie E. Peck, School of Music,M. T. Wolaver, Soloist,H. C. Eaton, Leader Baud,M. O. Gibson,Allen Lawrence,Wm. Kirk, Leader Band,Prof. Albert Cook, " Director Ames Union Baud,"

Boston, Mass.

New York

Portland, Me.Waterville, "

Lewiston, "Baugor, "Manchester, N. H.

Newport, "

Nashua, "

Keene, "

Lowell, Mass.Lawreuce, "

No. Andover, "

West Derry, N. H.

Marlboro, Mass

Greenfield, "

Brockton, "

Boston, "

Northampton,"Springfield, "

Brattleboro, Vt.

Hartford Conn.Minneapolis, Minn.St. Paul,Cohockton, N. Y.Los Angeles, Cal.

Pasadena, "

Tacoma, Wash.Seattle,

New Orleans, La.Indianapolis, Ind.Elgin, 111.Lincoln, "

Urbana, "Scrauton, Pa.Cleveland, Ohio.Mich. City, Ind.

C.R. KAPLINGER, T\Vi()

PRINTER, NlV"

MMN ST., ^SPRINGFIELD.V,\J SPRINGFIELD. *Mt